What's Up?
Living, working, teaching, and writing between the Shenandoah Valley and the Dendê Coast.
Life & Work
Bio:
Case Watkins is a geographer working at the intersections of power, environment, and justice. Dr. Watkins studies social-ecological interactions through time and across space—from the early colonial period to the present, and from agrarian landscapes in Latin America and the US South to the broader networks of the Atlantic World. He serves as an assistant professor of Justice Studies at James Madison University.
Published in 2021, his book Palm Oil Diaspora reconstructs the environmental histories and political ecologies of palm oil landscapes, foodways, and economies in Brazil and the South Atlantic. Blending ethnographic, archival, and geospatial analyses, the book reinterprets transatlantic flows of power and resistance to reveal a complex African diaspora of people, plants, and knowledge.
Drawing on fieldwork, archives, and digital mapping, his previous work has examined landscapes of race, class, and disaster; transnational migration, identity, and citizenship; agrarian, development, and environmental politics; and political ecologies of foodways, race, and agroecological change.
Publications:
Palm Oil Diaspora: Afro-Brazilian Landscapes and Economies on Bahia's Dendê Coast
Published in 2021 by Cambridge University Press.
http://bit.ly/podlivro
Behind the social and environmental destruction of modern palm oil production lies a long and complex history of landscapes, cultures, and economies linking Africa and its diaspora in the Atlantic World. Case Watkins traces palm oil from its prehistoric emergence in western Africa to biodiverse groves and cultures in Northeast Brazil, and finally the plantation monocultures plundering contemporary rainforest communities. Drawing on ethnography, landscape interpretation, archives, travelers’ accounts, and geospatial analysis, Watkins examines human-environmental relations too often overlooked in histories and geographies of the African diaspora, and uncovers a range of formative contributions of people and ecologies of African descent to the societies and environments of the (post)colonial Americas. Bridging literatures on Black geographies, Afro-Brazilian and Atlantic studies, political ecology, and decolonial theory and praxis, this study connects diverse concepts and disciplines to analyze and appreciate the power, complexity, and potentials of Bahia’s Afro-Brazilian palm oil economy.
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay. They paid.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).